Actress Angelina Jolie grew emotional last week (ends05Dec14) as she presented a special U.S. honour to the family of Olympic runner-turned-war hero Louis Zamperini, the subject of her new movie Unbroken. The Wanted star, who struck up a close friendship with the veteran after picking up the rights to direct his biopic, joined his relatives, including his son Luke, at Porter House New York on Thursday (04Dec14) to hand over a proclamation "honoring the life, accomplishments and legacy of (Zamperini) and expressing condolences on his passing", reports the New York Post.
The resolution was introduced to the U.S. Senate by Senators Dianne Feinstein and former presidential candidate John McCain in July (14) and passed last Wednesday (03Dec14).
The certificate was then brought to the Big Apple, where Jolie expressed her gratitude to Zamperini's family for supporting her film.
Fighting back tears at the event, where guests included actress Jodie Foster and filmmaker M. Night Shyamalan, she said, "Thank you for allowing me to tell this story."
Castmembers from Unbroken, including Jack O'Connell, who portrays a young Zamperini, were also on hand to celebrate the honour.

Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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A billionaire TV producer (Robert Mammone) has a great idea for a reality show that he wants to put on the Internet and his goal is to beat the 40 million Super Bowl audience. He has compiled a crack team of young hip and immoral tech geeks directed by Goldman (Rick Hoffman) and puts cameras throughout a remote island where former prisoners are going to kill each other while audiences watch after shelling out the pay-per-view fee. The location is done on a remote secret island and the death row prisoners are bought from prisons around the world with the promise that the survivor gets to walk free. Among the contestants are a rogue Aussie named McStarley (Vinnie Jones) a martial arts expert (Masa Yamaguchi) a husband-and-wife team (Manu Bennett and Dasi Ruz) a monstrous killer who doesn't do much more than grunt (Nathan Jones) and others known only as The Italian The German and other monikers quickly forgotten. Enter the sole American Jack Conrad (Steve Austin) who's in a South American prison for some obscure reason and is recognized on TV by his wife (Madeleine West) who tries to save him. However it looks like Conrad is pretty good at helping himself. Don't expect the acting to be much more evolved than what could be seen among the World Wrestling Entertainment superstars especially since many of them were plucked from the ring to star in this morality tale. But Austin (who had in a strong cameo in Adam Sandler's Longest Yard) proves he has a sense of humor as well as strength. Vinnie Jones is ridiculously over-the-top as the Aussie who's the hand-picked winner of this game shown setting up alliances Survivor style only to turn on them later. The supporting cast are refreshingly entertaining but one-note caricatures both in the contest and running the contest. It's obvious that they aren't going to be around long but the actors do milk their tiny roles for every bit of attention they can get. Rick Hoffman as the brilliant camera mastermind of the project is both whiny sniveling and mean-spirited so when he joins some of the rest of the crew and suddenly develops a backbone and a conscience he ends up stealing the movie with his acerbic humor. But it's the understated American hero Conrad who holds a mirror up to the people who like to watch this stuff. Director Scott Wiper who co-wrote this story has also acted in similar movies like this (A Better Way to Die). It’s obvious he knows what he’s doing with The Condemned and develops a sense of voyeuristic angst like those of us who can't keep our eyes off a train wreck. Like the darkly subversive Belgian film Man Bites Dog the camera crew remains safely distant and remote until the reality directly involves them. Then the crew wonders "What the hell are we doing?" while the audience might be thinking "What the hell are we watching?" Much like Series 7: The Contenders Rollerball and other movies which show a dark and bloody near future this kind of reality doesn't seem too far away and maybe proves that movies which provide this type of gladiator spectacle target a certain segment of the human population who need to blow off steam.

The romantic comedy How To Lose a Guy in 10 Days showed Shanghai Knights how to lose at the box office this weekend by taking in a winsome $24.1 million.* This makes it the third best February opener behind Hannibal and Scream 3.
Hannibal took in a head-spinning $58 million when it debuted in February of 2001, while Scream 3 wailed with a second all-time February best with $34.7 million in 2000.
How To Lose a Guy, which revolves around a writer for a fictitious magazine who agrees to write a firsthand account of all the things women do to drive men away sent the weekend favorite, Shanghai Knights, spinning, although the buddy comedy still managed to strong-arm a cavalier $19.7 million, beating predecessor Shanghai Noon's four-day $15.6 million opening take in May of 2000.
The third film to debut this weekend, the romantic comedy Deliver Us From Eva, opened sixth with a righteous $7 million.
Chicago's expansion propelled the musical into third place with $10.7 million in its seventh week of release, gaining two spots from last week's No. 5 position.
The CIA thriller The Recruit came in fourth place with $9.5 million, a significant drop from its No. 1 spot last week when it opened. The horror sequel Final Destination 2 also fell from grace in its second week of release, sliding from second to fifth place with a harmless $8.6 million.
Also losing gas in its second week, the motorcycle drama Biker Boyz barely passed the finish line with a wretched $4 million, ranking eighth. It debuted in the third spot last week.
The thriller Darkness Falls fell from sixth to ninth place in its third week with a not-so-scary $3.8 million, while The Lord of the Rings: The Two Towers held on to tenth place in its eighth week of release with $3.7 million.
THE TOP TEN
Paramount Pictures' How To Lose a Guy in 10 Days opened with a winning ESTIMATED $24.1 million at 2,923 theaters. Its $8,245 per theater was the highest of any other film this week.
Directed by Donald Petrie, it stars Kate Hudson and Matthew McConaughey.
The PG-13 rated film focuses on a writer for a woman's magazine whose assignment is to write a first-hand account of all the things women do to drive away men. The man she uses as her guinea pig, however, has just made a bet with his boss that he can make any girl fall in love with him in ten days.
Buena Vista's PG-13 rated buddy actioner Shanghai Knights premiered in second place with an ESTIMATED $19.7 million take at 2,753 theaters ($7,181 per theater).
Directed by Tom Dey, it stars Jackie Chan and Owen Wilson.
The martial arts pic is a sequel to 2000's Shanghai Noon. This time Wild West cowboys Chon Wang and Roy O'Bannon head to London to avenge the death of Chon's father.
Miramax's PG-13 rated musical Chicago expanded to 1,218 theaters in its fifth week and danced into third place with an ESTIMATED $10.7 million (+52%) at 1,841 theaters ($5,824 per theater). Its cume is approximately $63.7 million.
Directed by Rob Marshall, it stars Renee Zellweger, Catherine Zeta-Jones and Richard Gere.
*Box office estimates provided by Exhibitor Relations, Inc.
Buena Vista's PG-13 CIA thriller The Recruit, last week's box office topper, dropped to fourth place in its second week, with an ESTIMATED $9.5 million (-42%) at 2,376 theaters ($3,998 per theater). Its cume is approximately $30.1 million.
Directed by Roger Donaldson, it stars Al Pacino and Colin Farrell.
New Line's R rated thriller sequel Final Destination 2 fell three rungs to fifth place in its second week with an ESTIMATED $8.6 million (-46%) at 2,834 theaters ($3,052 per theater). Its cume is approximately $28.1 million.
Directed by David Richard Ellis, it stars Ali Larter, A.J. Cook and Michael Landes.
Focus Feature's romantic comedy Deliver Us From Eva opened to a respectable ESTIMATED $7 million at 1,139 theaters. Its $6,216 per theater average was the second highest of any film playing this week.
Directed by Gary C. Hardwick, it stars LL Cool J and Gabrielle Union.
The R rated pic revolves around three men who plot to free themselves of their mates' unattached and controlling older sister Eva by paying a cash-strapped ladies' man to romance her.
Warner Bros.' PG rated comedy Kangaroo Jack placed seventh--down three spots from last week--in its fourth week of release with an ESTIMATED $5.8 million (-35%) at 2,848 theaters ($5,890 per theater). Its cume is approximately $52.8 million.
Directed by David McNally, it stars Jerry O'Connell, Anthony Anderson and Estella Warren.
DreamWorks' PG-13 rated drama Biker Boyz fell five notches to eighth place in its second week of release with an ESTIMATED $4 million (-60%) at 1,769 theaters (+3 theaters; $2,261 per theater). Its cume is approximately $15.5 million.
Directed by Reggie Rock Bythewood, it stars Laurence Fishburne, Derek Luke and Orlando Jones.
Sony Pictures' PG-13 rated horror Darkness Falls fell from sixth to ninth spot in its third week with an ESTIMATED $3.8 million (-46%) at 2,456 theaters (-409theaters, $1,547 per theater). Its cume is approximately $26.7 million.
Directed by Jonathan Liebesman, it stars Chaney Kley, Emma Caulfield and Lee Cormie.
Rounding out the Top Ten was New Line Cinema's PG-13 rated fantasy sequel The Lord of the Rings: The Two Towers, which dropped three slots in its eighth week with an ESTIMATED $3.3 million (-34%) at 1680 theaters (-495 theaters; $2,009 per theater). Its cume is approximately $320.7 million.
Directed by Peter Jackson, it stars Elijah Wood, Ian McKellen, Orlando Bloom and Viggo Mortensen.
WEEKEND COMPARISON
The top 12 films this weekend grossed an ESTIMATED $103 million, up 10.08 percent from last weekend when they totaled $93.6 million.
The top 12 were up a significant 21.94 percent from last year when they totaled $84.5 million.
Last year, Warner's R rated Collateral Damage dominated the box office in its opening week with $15 million at 2,824 theaters ($5,332 per theater); Universal's opening week of Big Fat Liar was second with $11.5 million at 2,531 theaters ($4,565 per theater); and MGM's Rollerball, also in its debut week, came in third with $9 million at 2,762 theaters ($3,263 per theater).

After last weekend's Super Bowl madness, audiences were in the mood for a different kind of game--be it mind games or the challenge of cheating death--as the top three box office spots were dominated by new releases.
The new spy drama The Recruit took top honors with a decent $16.5 million*, while second place holder Final Destination 2 nearly caught up to The Recruit with $16.2 million. The third spot belonged to Biker Boyz with a slim $10.1 million.
Pushed down to the number four and five spots were last weekend's winners Kangaroo Jack at $9 million and Darkness Falls with $7.5 million.
THE TOP TEN
This weekend's box office topper, Buena Vista's PG-13 The Recruit, opened with an ESTIMATED $16.5 million at 2,376 theaters ($6,944 per theater).
Directed by Roger Donaldson, it stars Colin Farrell, Al Pacino, Bridget Moynahan and Gabriel Macht.
The film revolves around a brilliant college graduate (Farrell) who is recruited by a CIA veteran (Pacino), sent to The Farm--the Agency's treacherous, mind-boggling training program--and programmed to be one of the spy elite.
"Al Pacino always delivers a great performance, and when you put him with Colin Farrell, the combination just whetted the appetite of the public on all sides," Chuck Viane, head of distribution for Disney, told the Associated Press.
Ever wonder how you could cheat death? New Line Cinema's R-rated Final Destination 2 gave us a few hints, as it opened at No. 2 with an ESTIMATED $16.2 million at 2,834 theaters ($5,716 per theater), just barely missing the top mark.
Directed by David R. Ellis, it stars A.J. Cook, Ali Larter and Michael Landes.
The sequel to the 2000 horror hit Final Destination further explores the possibility of escaping the vindictive Death, as a girl, with a premonition of a horrific car pileup on a highway, saves her friends from that particular fate, only to see them picked off one by one in other, more gruesome ways.
AP reports Final Destination 2 easily out-grossed its predecessor, which opened with $10 million. Russell Schwartz, president of domestic marketing for New Line, told AP he expects the sequel to at least match the $53 million total gross of the original Final Destination.
Coming in the third spot, DreamWorks' PG-13 Biker Boyz opened with an ESTIMATED $10.1 million at 1,766 theaters ($5,719 per theater).
Directed by Reggie Rock Bythewood, it stars Laurence Fishburne, Derek Luke, Orlando Jones, Kid Rock and Lisa Bonet.
The film follows the lives of lawyers and city workers who take to the streets by night in their leather gear to race in the world of underground motorcycle clubs.
Amazingly, Warner Bros. PG-rated Kangaroo Jack slipped only two notches to the No. 4 spot with an ESTIMATED $9 million (-22%) at 2,848 theaters ($3,172 per theater), even beating last weekend's top winner Darkness Falls. Its cume is approximately $45.8 million. Crikey!
Directed by David McNally, the silly comedy about a kangaroo who inadvertently makes off with some mob money into the wilds of the Australian Outback stars Jerry O'Connell, Anthony Anderson and Estella Warren.
Sony Pictures' PG-13 Darkness Falls certainly toppled from its top perch to claim fifth place with an ESTIMATED $7.5 million (-38%) at 2,865 theaters (+28 theaters; $2,618 per theater). Its total haul is approximately $22.2 million.
Pic revolves around a young man who, having escaped the Tooth Fairy's unrelentingly evil clutches as a boy, must return to save his hometown from the curse which has plagued it. This weekend, however, cheating death is apparently more exciting than cheating the Tooth Fairy.
Directed by Jonathan Liebesman, it stars Chaney Kley, Emma Caulfield and Lee Cormie.
*Box office estimates provided by Exhibitor Relations, Inc.
Miramax Films' PG-13 Chicago lost a little of its jazz, dipping from third place to sixth with an ESTIMATED $7.1 million (-13%) at 623 theaters (+7 theaters; $11,461 per theater). Yet, if Miramax opens this musical extravaganza wide, you may see the Oscar-touted film shoot back up the charts. Chicago's cume is $50.7 million.
Directed by Rob Marshall, it stars Renee Zellweger, Catherine Zeta-Jones and Richard Gere.
The box office charts wouldn't be complete without a few Hobbits. New Line's PG-13 smash The Lord of the Rings: The Two Towers still held power in its seventh week, slipping two spots to No. 7 with an ESTIMATED $5 million (-24%) at 2,175 theaters (-491 theaters; $2,299 per theater). But here's the real kicker--its total box office grosses to date is now approximately $315.9 million. Not too shabby.
Directed by Peter Jackson, it stars Elijah Wood, Ian McKellen, Orlando Bloom and Viggo Mortensen.
20th Century Fox's PG-13 Just Married fell one spot to take eighth place with an ESTIMATED $4.9 million (-24%) at 2,408 theaters (-297 theaters; $2,035 per theater). The tale about a honeymoon from hell has gained a respectable $49.8 million so far.
Directed by Shawn Levy, it stars Ashton Kutcher and Brittany Murphy.
Ninth place belonged to DreamWorks PG-13 Catch Me If You Can with an ESTIMATED $4.8 million (-26%) at 2,316 theaters (-460 theaters; $2,073 per theater). Its cume is approximately $151.9 million.
The biopic about con artist Frank Abagnale Jr. is directed by Steven Spielberg and stars Leonardo DiCaprio, Tom Hanks and Christopher Walken.
New Line's R-rated About Schmidt dropped one spot to tenth, rounding out the list with an ESTIMATED $4.7 million (-13%) at 1,236 theaters ($3,803 per theater). The classic slice of Americana has gathered a noteworthy $44.3 million to date with only limited release. Imagine what it could do if it goes wide.
Directed by Alexander Payne, it stars Jack Nicholson, Hope Davis, Dermot Mulroney and Kathy Bates.
OTHER OPENINGS
Universal Pictures' R-rated The Guru opened in limited theaters with an ESTIMATED $648,000 at 62 theaters ($10,452 per theater).
The comedy is about an Indian man who comes to seek his fame and fortune in America but winds up becoming the next "It" guru, spouting sexual advice to New York's lonely elite. Directed by Daisy von Scherler Mayer, the films stars Jimi Mistry, Heather Graham and Marisa Tomei.
WEEKEND COMPARISON
Overall, the box office numbers for the top 12 films jumped 18 percent from last weekend's dismal $79.9 million, with a total haul of $94.6 million.
"This was a really strong weekend for a January, which is usually kind of slow," Paul Dergarabedian, president of box-office tracker Exhibitor Relations told AP. "To have two films over $16 million is not bad at all."
This weekend also saw a 20 percent increase from the same weekend last year, which took in only $78.5 million.
Last year, Sony's R-rated Black Hawk Down dominated the box office in its sixth week with $11.1 million at 3,143 theaters ($3,536 per theater); Buena Vistas' G-rated Snow Dogs was second in its third week of release with $10.1 million at 2,454 theaters ($4,156 per theater); and Warner Bros.' PG-13 teen drama A Walk to Remember held the third spot in its second week with $8.8 million at 2,420 theaters ($3,651 per theater).